In this episode, readers are asked to regress some eighteen months back into 2025, into the lead-up to a Gala Ball. Sir Perceval Lamb attends a meeting at St. Dandy’s Cathedral, where he applies to hire the Old Vestry as a venue—for his charity event. He must first obtain Archbishop Garibaldi’s permission. The character, ‘Kevin Karmalade’ enters the scene for a short cameo: one of several guises he will have through the series. In this scene he has been rostered on as a temporary under-butler. Perceval Lamb and Dirk are shown into the rectory. Lamb puts his proposal to the archbishop. Dirk accompanies Lamb, as part of his training. The reader becomes aware Archdeacon Alfonso may also be ‘in’ on Lamb’s unusual charity arrangements. In the room, exotic deacon-servants serve dinner to Lamb, Dirk, Garibaldi and Alfonso. The archbishop and Lamb 'chortle' together as the archbishop slurps his peacock stew. Before Garibaldi will allow Lamb to hire the most prestigious heritage venue in the state, he interrogates Lamb politely. Lamb attempts to win favour with Garibaldi, by showing him secret documents, smuggled out of the Dominus Regis. They are the equivalent of cabinet papers, which the archbishop is keenly interested in. Although Garibaldi has a moral choice not to take or read them, he doesn’t hesitate to digest them. The Gala Ball is approved so that preparations can be commenced. This tongue in cheek episode uses a language and tone that is a throwback to traditional drawing-room scenes of the Victorian era. The Regina series to a limited extent, borrows elements of language from that era. It's placed with restraint and gives the scene a subtle sepia or vintage feel. Karmalade’s admiration for writer, Evelyn Waugh (1903-66) is apparent in his writing style and choice of words. Both writers have an affinity for words in and of themselves. Even allowing at times, words to take precedence over the insights and movements of the characters.
The Old Vestry is being made ready for the ball. There is much activity afoot. Micah, the head-technician, Dirk and Tristan, discover a dwarf curate, Tom O’Malley. He’s rummaging in the Vestry kitchen-larder, trying to pilfer some alcohol. Seizing the opportunity to improve the entertainment, they forcibly recruit O’Malley by ensnaring him into playing a lead role—in one of the stage-plays they will present. It is the evening of the ball. Sir Perceval Lamb stares out the window from the first floor. He can see the guests arriving in their mythical tarot-card and or period costumes and masks. He looks down into the churchyard gardens. He can see two teams setting up, with the guests starting to mill around the edges and onto the bleachers of the playing courts. The game appears to be organised. There are rules, scoreboard, a ground layout, equipment and spectators. The umpires present themselves in uniform with whistles and flags. A radio commentator from Radio Good Shepherd 91.8fm is seated. He begins to commentate a live broadcast as the games get underway. The guests watch the activities; drinks in hand as a set of human-burnings are prepared and executed. The burnings are treated like an affable sporting contest. It is an exclusive spectacle that Lamb has carefully organised—to invoke the celebratory mood for the rest of the evening’s program. The radio announcer commences the public broadcast, as the choir joins in on cue. We are drawn in, partly through the professional enthusiasm of the broadcast, and partly through what is taking place: the preparation and ‘burning’ of the main actors, who perform the ritual mock immolations. The episode explores the first phase of the burnings of (mainly) Church of England clergy by the English monarchy from 1555-58. It satirises the stupidity of this. It was triggered by clergy who wouldn't follow Roman church doctrines of the day, like the doctrine of Christ’s actual presence (as flesh and blood) in altar bread when consecrated at mass. The re-creation of the original burnings at a charity ball in this episode is unusual. This is because of the humorous way the misuse of power and the execution of the past clergy—by the then monarch are treated. Although scholars have studied such events for centuries, the Regina novella brings the issue to the fore again—in an irreverent way. What is thematically implied is, what other senseless and immoral things does society do today? That is, what senseless things do humans do to other humans?
The depiction of the ‘nativity’ in this episode might be described as, ‘the anti-nativity.’ It is a fair description, in the context of an anti-utopian story. The so-called ‘cabaret’ is presented more as a warped tragi-comedy because it combines the birth, death and resurrection of the ‘Regis’ child (based on elements of the New Testament gospels).
The scene has a most unusual depiction of the nativity. The scene may be observed as being, irreverent or silly amongst other things. The baby in the manger has been re-named ‘Regis’ the son of the Holy Regina. This is part of the artistic style of the novella. It seeks to blur and suspend normal reality, inviting the reader to look at the well-recognised nativity scene in a different light. We are being baited of course—to ask what kind of society would twist gospel and liturgy into this strange presentation to charity-ball guests?
Karmalade is experimenting with the artistic idea that the nativity is capable of being morphed. From something that is a cross between a piece of medieval theatre to something which some of the audience in the scene, might believe to be true, because reality has been temporarily suspended by the ‘theatre’ being presented.
As artist, the writer is toying with the power of suggestion. Any rational person would know how ridiculous it is to have O’Malley play the ‘Regis’ figure. Our humour is also being challenged, as the artist-writer becomes a ‘jester’ here to test our reactions.
Karmalade uses the audience watching the play, to develop the reader’s knowledge about the guests at the ball. Lamb’s flamboyance is on display. One feels there is something not quite right about the whole social scene that participates in these ‘charitable’ festivities.
Like Fitzgerald in The Great Gatsby (1924-25), Karmalade is entreating us to reflect on the rash forms of behaviour that pass for entertainment. There is a duality here. On one hand the professional construction of a modern fund-raising event. And on the other—a fakery that is palpable, if we explore just below the surface: the games, the costumes; those who pocket the charitable funds are complicit in abusing the charity itself. The entertainment is a form of tainted collective gratification that occurs in an intoxicating atmosphere. Karmalade paints a vulgarity that is very directly inspired by Brugal (b1525-1569) and Bosch (1450-1505), except it is penned into 2025 instead.
Hail Regina (A Satire of Political & Religious Romp) SEASON ONE –EPISODES 1-8 This is the first of five novellas in this series. Hail Regina is a classic, theatrical-styled satire, created in a dystopian setting. It is serialized and set in the near future (2025-30). It is family-friendly with mature themes. The novella opens in 2027. There has been a great economic crash that has devastated citizen’s lives throughout the Congregation of States. In the wake of recovery, the Secular Party has devised an inspiration for the citizens. It will reclaim the dilapidated docklands, spread along the waterfront of the Capital. Whilst the atomic test program is on track, the State-leader, Royston Bustwick and his Secular Party, will bring hope to the citizens, as they are called upon to make their state—great again. Atop of Constitution Hill, the statue of the Holy Mother Regina—presides within the sacred waters of the rooftop fountain of the Vivatrium. Angelic beings are sighted gravitating around Her, whilst inexplicable horn-like sounds are heard—up in the skies, beyond the Mt. Liberty Control-Tower and out to the atomic wastelands. Stylistic influences include, 'The Iron Heel' by Jack London (1907), 'We' by Yevgeny Zamyatin (1920), ‘Brave New World’ (1932), ‘Fahrenheit 451’ (1953), Player Piano by Kurt Vonnegut (1952) and 'The Children of Men' by P.D. James (1992). This irreverent work has a more light-hearted flavour than the former works mentioned. Its theatrical flamboyance makes this a different offering to the traditional novels in the genre. Hail Regina is written to entertain above all else.
At this stage of the serial, readers will have formed a picture of the nature of the groups of characters that attend Lamb’s ball. Lamb welcomes his guests and re-assures their donations will go to a worthy cause. It helps that he is wheel chair bound. It makes his fund-raising more credible—being a distinguished citizen, with a visible disability from the free use of his legs. We are able to observe Dirk, the Attorney-general, Mandy Fagan, Warrin Fitz Gerald and others as they party on, relatively uninhibited. Dolly the sheep appears as part of the festivities. The reaction to her; the strangeness of having an innocent sheep as an amusement, signals the understated vulgarity and lavishness of the event. We are also vaguely aware of the impending appearance of a donkey called, ‘Sir Nigel.’ Along with Dolly, he too has been quietly smuggled into the venue by Lamb’s stagehands. Karmalade shares a fascination with many—for the Renaissance painters Bruegel and Bosch. Their paintings were one of the chief inspirations of the penning of this episode. In the early manuscripts, copies of the paintings were embedded into the actual manuscripts versions, to mirror the underlying themes of temptation and organised debauchery. The paintings that inspired the ball scenes are from the famous Temptation of St Anthony oil painting series by Bosch (ca 1505). The painting currently hangs in the Museu Nacional de Arte Antiga, in Lisbon. There is a palpable sense of the writer’s observations of human interaction, games and relations throughout episodes 5-8. This is not dissimilar to the way F. Scott Fitzgerald took aim at the opulence and decadence of his era in, The Great Gatsby (1924-25). We become immersed in the meandering scenes of the intoxicated superiors and inferiors; a warped nativity using an inferior subservient to play ‘the son of Regina’; nitrous-oxide gas, a sheep, a donkey swilling ale, an angel in an Elvis jacket and a statue with its head broken off— cussing to the ball guests. We have no doubt that ‘the charity’ they have come to support, may well just be an excuse for some extravagant entertainment. Lamb is everyone’s enabler therefore.
Father Santamaria becomes quite agitated as he watches Lady Melrose being escorted from the ball to her car. Scantily clad boys with chalk harnesses and trans-gender ushers trail just behind them. The priest is an intense character. He is a peeping tom that leads others in their peeping activities, behind the hundreds of hidden peepholes and hidden wall spaces, that surround the old church buildings.
Lady Melrose’s evening dress has been spoiled by Dolly the sheep. For her dignity, it is best that she leaves. As she disappears through the gates, we are interrupted by the blasphemous head of a statue. Its head has accidently broken-off from the rest of its body. The technicians have captured the head in a laundry basket. They are followed by a rabble of guests, as they make their way across to the entrance porch of the archbishop’s rectory. Father Santamaria takes control, whilst the archbishop can be woken and brought down to officiate, over what’s to be done with the head in the bucket.
In the meanwhile, it seems to channel multiple characters and slogans. One entity is a grumpy old Speaker of the House whom we assume has passed over. We observe the dropping of the ‘Little Boy’ and ‘Fat Man’ (1945) atomic bombs, as they are channelled out the mouth of the head. Other voices come through—to give the guests some cheek.
The head is one of the most fanciful props of the novella. It is an artistic device: simply a ‘channel’ by which a variety of voices come through to exclaim a set of lines and slogans, such as for example, Gandhi’s universal mantra, ‘Truth, Force’.
It is Dirk and Micah, a technician that rescue the situation. They suggest to the archbishop that they try to attach the head back on to the body of the statue.
The last part of the chapter features a short performance by a fancy-trick, performance donkey; as he swills beers and swallows them. His final act involves an interaction with a baby tub, which the audience enjoy as they are led by Royston Bustwick, the State–leader to cheer the donkey on.
Archbishop Garibaldi features for a few moments as he deals with what is a metaphysical problem. There is humour mixed with irony derived by the way the statue is silenced. The proctor’s news of apparitions in the Cathedral is an artistic re-conjuring of a sliver of the Renaissance period. In that time, winged angels were prevalent in some of the great devotional paintings of the period. Eventually – this form of art almost disappeared entirely as the Renaissance drew to a close. The angels re-surfaced in other forms and depictions in later ages.
The episode moves back and forth to Dirk’s tenement flat, as readers move in time to his past and then to the present. We are treated to several vignette-styled sketches of Dirk’s childhood and teens, showing how Dirk has been shaped. We meet Uncle George, who has had an accident at the Thallium Meatport. As a child, Dirk observed the way Uncle George was looked down upon and maligned after his accident. Dirk lives with his intelligent partner – Natashca. He likes to control what she says or does. Dirk has turned out as an adult with manikin (object-relationship) dependencies. And an obsession, commenced in childhood, of washing the feet of others. Dirk stands at his ironing board. His past reflects upon him, as readers begin to comprehend the journey he has made in his life thus far. The episode breaks to the next day. Lamb, Tristan and Dirk travel to the underground vaults of St. Dandy’s Cathedral. They are helping the Secular Party (personified by Commodore Petersen) to hatch a plan. They will tell the media what to tell the citizens about the horn-like sounds that have been originating in the night skies. A plan is formed under the archbishop’s leadership. They propose to confront what appear to be ‘super-natural’ noises, by marshalling the resources of St. Dandy’s Cathedral Hornsmen. They will attempt to ‘drown out’ the sounds in the night skies, over the Capital. It is an intense challenge for church and state co-operation.
Hail Regina is a serialized social satire of, ‘political and religious romp’, set in the near future (2025-30). It is family-friendly and has a vintage quality to its writing style. Episode One has a fore-note, ’After the Crash…’ and a comical ‘prelude’ scene from a gala-ball, as readers transition between 2025 and 2027 scenes this opening is set in. We learn of the aftermath of the great economic crash. Its devastation pervades throughout the congregation of states. Those citizens who caused the crash, are rumoured to have been 'chastised' underground in the flagellation chambers of St. Dandy’s Cathedral. They have disappeared, whilst being interned in the Thallium Meatport. No inferior or superior citizen has been spared from the crash. In the wake of recovery, the Secular Party has devised an inspiration for the state. The party will reclaim the dilapidated docklands, spread along the waterfront of the Capital. Whilst the atomic test program remains on track, the party will bring hope to the citizens, as they are called upon to make their state—'great again'. Atop of Constitution Hill, the statue of the Holy Mother Regina—gushes out the sacred waters of its fountain. Angelic beings are sighted gravitating around Her, whilst inexplicable horn-like sounds are heard—up in the skies and beyond the mountains. The ‘Wheel of Life’ on Hierophant Square, makes its a natural forward motion. It signals to the citizens that life in the Capital and the Ganglands is moving onto its next cycle, as it always has done. With a radical decline in pregnancy and births, the children of poor inferior-citizens are harvested. They are ferried up river under the sweeping arch of the Golden Dawn bridge—to commence a new life in the State Distribution Bureau. Members of the Secular Party will adopt many of them. But they will not remember their birth parents. Trained Labradors, befriend them with doses of unconditional love—whilst they wait to be received by their new parents. The future generation of members of the Secular Party has thus been secured. Episode One The episode-chapter opens to the sounds of smog sirens and Radio Good Shepherd 91.8FM playing in the background. Dirk van Ritter is seated on the floor of his tenement, rummaging through the plans for the new Royal Docklands Centre precinct, to be built on the waterfront. We follow Dirk’s quest for elevation in the civil service, which is controlled by the ruling oligarchs of the Secular Party. Dirk’s informal promotion from a ‘low-inferior’ serving as a souvenir and information assistant, on the counter of the Tourism Office, will run parallel to the construction of the Docklands Centre, which unveils during Season's 2 and 3. He dreams of one day being the Predendary of the new Centre, if it can survive the politics surrounding the construction of the docklands precincts. Major stylistic influences upon this work go back to dystopian classics like, The 'Iron Heel' by Jack London (1907), 'We' by Yevgeny Zamyatin (1920), ‘Brave New World’ by Aldous Huxley (1932) and Ray Bradbury’s, ‘Fahrenheit 451’ (1953). The futurist setting of the series - was party influenced by the London Docklands re-development. Commenced in 1981, it created a vast urban renewal program along the London waterfront. The city of London and docklands provided the initial components of imagery - to sketch the location, the politics and theatrical characters, which gradually formed within in the futurist dystopia -that the story ultimately inhabited. The Hail Regina novella series, may be read at a simple, literal level. A story about a low inferior who quests for a better life; the delusions and hurdles to be overcome along the way. On a secondary, more abstract level, it touches upon some of the flaws and foibles of the members of high-society who run the politics of state and church.
The ultimate canning guide for cooks—from the novice to the professional—and the only book you need to save (and savor) the season throughout the entire year "Gardening history, 18th-century American painters, poems, and practical information; it's a rich book. And unlike other books on preserving, West gives recipes that will goad you to make easy preserves.” —The Atlantic Strawberry jam. Pickled beets. Homegrown tomatoes. These are the tastes of Kevin West’s Southern childhood, and they are the tastes that inspired him to “save the season,” as he traveled from the citrus groves of Southern California to the cranberry bogs of Massachusetts and everywhere in between, chronicling America’s rich preserving traditions. Here, West presents his findings: 220 recipes for sweet and savory jams, pickles, cordials, cocktails, candies, and more—from Classic Apricot Jam to Green Tomato Chutney; from Pickled Asparagus with Tarragon and Green Garlic to Scotch Marmalade. Includes 300 full-color photographs.
THE MOTHER OF WISDOM COMES HOME " is from the " KING MERLIN AND THE RAPP LORDS, " kids book series created by Kevin Curtis Barr and Lawrence D. Christian, several comic books will follow from Kevin Curtis Barr Comics (513) 824-2371.
Founded in 1917, Grand Central Market is a legendary food hall in Downtown Los Angeles that brings together the many traditions and flavors of the city. Now, GCM’s first cookbook puts the spotlight on unique recipes from its diverse vendors, bringing their authentic tastes to your home kitchen. From Horse Thief BBQ’s Nashville-Style Hot Fried Chicken Sando to Madcapra’s Sumac Beet Soda to Golden Road’s Crunchy Avocado Tacos, here are over 85 distinctive recipes, plus spectacular photography that shows off the food, the people, and the daily bustle and buzz. Stories about the Market’s vibrant history and interviews with its prominent customers and vendors dot the pages as well. Whether you’ve visited and want to make your favorite dishes at home, or are simply looking for a cookbook that provides a plethora of multi-national cuisine, The Grand Central Market Cookbook is sure to make your kitchen just a little bit cooler. 2018 IACP Cookbook Award nominee for Compilations.
Gouache is an exciting, forgiving and versatile fine art medium. It has a long history going back many centuries, but for some time it has been seen as a medium for illustrators and designers. It has now been rediscovered by the fine artist. In this beautiful book, Kevin Scully champions its cause and explores its attributes. He explains how it can be used to exciting and stunning effect when painting still life. Further topics include: understanding and using colour effectively with sections on paint, colour, tone, light and shadow; painting flowers, objects and backgrounds; traditional and contemporary approaches with step-by-step examples and finally, ways to develop your painting and experiment with different styles, exciting compositions and new techniques. Beautifully illustrated with 186 colour images.
A complete course in applied macroeconomics at the intermediate level that emphasizes the application of economic theory to real-world data and policy.
Presents over 80 original recipes inspired by traditional Irish themes and ingredients including tomato and poitin soup, duncannon seafood chowder, roast rack of lamb in Irish Stew Consomme, and Bailey's Cream Pot. This title celebrates the natural riches of Irish land and sea.
The ultimate guide for making edible and household gifts in the kitchen, The Bountiful Kitchen offers today's taste-heightened but time-constrained families dozens of quick and easy recipes for mouthwatering preserves, pickles, condiments, and baked goods that anyone would be pleased to receive as gifts. Two-color illustrations throughout.
Here, for a new generation of Americans, are lost secrets of 19th-century kitchens--traditional recipes and household crafts for the whole family, reclaimed with up-to-the-minute ingredients and time- and space-saving techniques for modern tastes and lifestyles. Two-color illustrations throughout.
Who doesn't love cookies? Milk and cookies evoke memories of childhood treats. The delicate cookies served with coffee in so many restaurants provide a small indulgence without excessive guilt. Chocolate chip cookies are as American as apple pie. In The Complete Cookie, veteran authors Barry Bluestein and Kevin Morrissey present home cooks with a single-source reference for producing the best-ever cookies of every kind: filled, rolled, drop, bar, shaped, pressed, and molded. There are chapters highlighting decadent holiday cookies, as well as those of the healthful persuasion (sugarless, flourless, nonfat, and low-fat). Sidebars offer hints and tips galore on decorating, frosting, cutting, and storing, as well as instructions for homemade fillings, flavorings, and candied fruit. Special sections provide a wealth of essential information on ingredients, equipment, and techniques. Illustrated with eight pages of glorious full-color photographs, The Complete Cookie is an up-to-the-minute guide for modern cooks. You'll find recipes not only for the classics, including big, chewy chocolate chip and peanut butter cookies, but also novel twists on old-time favorites -- such as chocolate rugalach (out of this world!) and ginger biscotti (divine!) -- to suit sophisticated tastes. Just reading these pages will be enough to have even timid bakers reaching for the nearest sack of flour.
The goal of this anthology is to present a wealth of poetry, prose, and drama from the full sweep of the literary history of the British Isles and its empire, and to do so in ways that will bring out both the works' original cultural contexts and their lasting aesthetic power.-Pref.
Despite rumors of thriving steak houses across the country, Americans are, without question, eating less fat then ever before. This collection of more than 125 stylish and satisfying recipes, each containing less than one gram of fat, is the only low-fat cookbook devoted to those courses that are, for many people, the most important parts of any meal.
A hilarious and heartbreaking debut novel hailed as a crossbreeding of The Catcher in the Rye and Don DeLillo's White Noise. --The Washington Post Book World.
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